. . . Mozart's operatic selections find [Fernando Corena] in good shape, his voice moving with ease through the catchy melodies . . . Leporello was among Corena's most frequently performed roles on stage, and he shows the verve and variety for it . . . Corena puts everything across most spiritedly.

Record Review /
John T. Hughes,
International Record Review (London) / 01. July 2014

Fernando Corena offers a characterful voice in the Mozartian extracts he performs in these 1950s recordings, as well as in the comic intermezzo by Cimarosa.

Record Review /
George Hall,
BBC Music Magazine (London) / 01. September 2014

[Cimarosa / "Il maestro di capella"]: As a kind of meta-musical piece, it's a small jewel, and Corena is perfectly cast. While emphasizing the maestro's pretentious veneer, he nonetheless humanizes him. Bruno Amaducci, conducting the Orchestra dei Pomeriggi Musicali di Milano, is perfectly attuned to the work's gentle comic nuances . . . [Mozart / "Aprite un po'quegli occhi"]: its introductory section delivered with a real sense of anger and poignance, and a "Madamina, il catalogo è questo" that makes the time-worn risqué gags sound fresh again . . . [the six concert arias]: many of these are quite dramatic, including "Così dunque tradisci . . . Aspri rimorsi atroci" . . . which Corena begins with angry reproachfulness and ends with a sense of guilty torment. Also notable is "Un bacio di mano", in which a father says farewell before leaving his loving daughter. Corena makes the man's doubts and fears palpable. These arias are sensitively conducted by Argeo Quadri, with the Orchestra of the Royal Opera House, Covent Garden.